Journals and conferences
Sadly, the following use the (horrible, rip-off) "pay to view" model:
Nuance
I subdivide this as follows:
"Nuance analysis": studying a corpus of performances.
- Statistical: study the statistics of the nuance.
- Model-based: find specific parameterized functions that fit the data.
"Nuance generation": adding nuance to a rendition.
- AI-based: train a neural net with a corpus of performances.
- Algorithmic: add nuance with deterministic rules
based on pitch contour etc.
- Explicit: a human specifies nuance.
These are related; e.g. a system for explicit nuance generation
provides a set of primitives, and ideally these would be
chosen based on model-based analysis.
Manfred Clynes and Superconductor
Manfred Clynes
did work on explicit (and possibly algorithmic) nuance generation,
in the context of a Windows program called
SuperConductor
(not related to SuperCollider AFAIK).
Superconductor does audio synthesis (e.g. of bowed string sounds).
It provides control (through a GUI) of high-level (e.g. crescendi)
and note-level (e.g. vibrato) nuance.
It supports nonlinear curves (exponentials, cubic splines?).
It looks rigid and limited.
It comes with a few pieces by "The Great Composers"
(in a proprietary format) that you can add nuance to.
It can also import/export MIDI.
There are
a bunch of examples on YouTube,
mostly from string quartets.
These are not bad - they have nuance with appropriate general properties.
However, the nuance is excessive,
and it's clear within a few seconds that it's computer-generated.
This is based on Clynes' theory of acoustic aesthetics/emotion called "Sentic forms",
which holds that composers have characteristic "hierarchical pulses".
This is pretty vague and speculative.
Also, all of Clynes' stuff (including his self-authored Wikipedia page)
has an uncomfortably high level of self-promotion.
Papers by Clynes:
Bruno Repp
-
A microcosm of musical expression. I. Quantitative analysis of pianists’ timing in the initial measures of Chopin’s Etude in E major
.
The Journal of the Acoustical Society of America, 1998
-
A microcosm of musical expression: II. Quantitative analysis of pianists’ dynamics in the initial measures of Chopin’s Etude in E major
Journal of the Acoustical Society of America, Vol. 105 pp. 1972-1988
-
A microcosm of musical expression. III. Contributions of timing and dynamics to the aesthetic impression of pianists' performances of the initial measures of Chopin's Etude in E Major.
Journal of the Acoustical Society of America, Vol. 106 pp. 469-478
-
Music, mind, and science. XVI. Individual differences in the expressive shaping of a musical phrase: The opening of Chopin’s etude in E major
-
Detecting deviations from metronomic timing in music: Effects of perceptual structure on the mental timekeeper
Perception & Psychophysics, Vol. 61 (3) pp. 529-548
-
Relationships between performance timing, perception of timing perturbations, and perceptual-motor synchronisation in two Chopin preludes
Australian Journal of Psychology, Vol. 51 (No. 3) pp. 188-203
- Variations on a Theme by Chopin: Relations Between Perception and Production of Timing in Music.
Human Perception and Performance, Journal of Experimental Psychology, Vol. 24 (No. 3) pp. 791-811, 1998
- Expressive timing in a Debussy prelude: A comparison of student and expert pianists .
Musicae Scientiae, Vol. 1 (2) pp. 257-268.
-
Effects of tempo on the timing of simple musical rhythms.
Music Perception, Vol. 19 (No. 4) pp. 565-593
-
The timing implication of musical structures.
In D. Greer (Ed.), Musicology and Sister Disciplines, Past, Present, Future, pp. 60-70
- Manfred Clynes, pianist
In:, A Festschrift for Manfred Clynes. St. Louis, MO: MMB Music, pp. 70-84
- Patterns of note onset asynchronies in expressive piano performance.
Journal of the Acoustical Society, Vol. 100 (6) pp. 3917-3932, 1996
- Pedal timing and tempo in expressive piano performance: A reliminary investigation.
Psychology of Music, Vol. 24 pp. 199-221, 1996
- The art of inaccuracy: Why pianists' errors are difficult to hear.
Music Perception, Vol. 14 (2) pp. 161-184, 1996
- The dynamics of expressive piano performance: Schumann’s “Träumerei” revisited.
J. Acoust. Soc. Am, Vol. 100 (1) pp. 641-650, 1996
- Quantitative effects of global tempo on expressive timing in music performance: Some perceptual evidence.
Music Perception, Vol. 13 (No. 1) pp. 39-57, 1995
- Expressive timing in Schumann’s “Träumerei:” an analysis of performances by graduate student pianists.
J. Acoust. Soc. Am, Part 1, November, Vol. 98 (5) pp. 2413-2427, 1995
- Relational invariance of expressive microstructure across global tempo changes in music performance: An exploratory study.
Psychological Research, Vol. 56 pp. 299-284, 1994
- A Constraint on the Expressive Timing of a Melodic Gesture: Evidence from Performance and Aesthetic Judgment.
Music Perception, Vol. 10 (2) pp. 221-242, 1993
- Diversity and commonality in music performance: An analysis of timing microstructure in Schumann's “Traumerei”.
Journal of the Acoustical Society of America, Vol. 92 (5) pp. 2546-2568, 1992
- Composers' Pulses: Science or Art?.
Music Perception, 13, Vol. 7 (4) pp. 423-434, 1990
- Patterns of expressive timing in performances of a Beethoven minuet by nineteen famous pianists.
Published 1 May 1988, The Journal of the Acoustical Society of America
- Expressive Microstructure in Music: A Preliminary Perceptual Assessment of Four Composers' "Pulses".
Music Perception, Vol. 6 (3) pp. 243-274, 1989
- The Detectability of Local Deviations from a Typical Expressive Timing Pattern. Music Perception, 1998
Data
- MAESTRO: a corpus of piano performances (MIDI file and audio).
Others
Papers that study performance nuance, and show actual data.
-
A Musical Microscope Applied to the Piano Playing of Vladimir de Pachmann
.
Nigel Nettheim, 2001.
Compares several performances of the start of a Chopin Nocturne.
Uses interesting score notation that shows timing and dynamics.
- Corpus analysis of rubato in Bach C prelude.
Studies the average lengths of pauses: the larger the phrase unit,
the longer the pause.
Also compares various performers.
Looks at Traumerei also.
Worth reading.
- A Three-Dimensional Model for Evaluating Individual Differences in Tempo and Tempo Variation in Musical Performance.
Zhou and Fabian. Musicae Scientiae, 2019.
nal_coloring_of_computer_controlle.pdf
- Modeling and control of expressiveness in music performance.
Canazza et al.
PROCEEDINGS OF THE IEEE, VOL. 92, NO. 4, APRIL 2004.
- A Survey of Computer Systems for Expressive Music Performance.
Kirke and Miranda, ACM Computing Surveys,Volume 42Issue 1December 2009
- Emotional coloring of computer-controlled music performances.
Bresin and Friberg. CMJ, 2000
- Investigating pianists' individuality in the performance of five timbral nuances through patterns of articulation, touch, dynamics, and pedaling.
Bernays and Traube. Frontiers in Psychology, 2014.
- Computational Models of Expressive Music Performance: The State of the Art.
Widmer and Goeble. September 2004, Journal of New Music Research 33(3):203-216
- Computational models of expressive music performance: a comprehensive and critical review.
Cancino-Chacon et al. Frontiers in digital humanities, 2018.
- Sources of timing variations in music performance: A psychological segmentation model.
Penel and Drake. Psychol Res 1998
- Force Dynamics of Tempo Change in Music
Jacob Feldman, David Epstein and Whitman Richards.
Music Perception: An Interdisciplinary Journal , Winter, 1992, Vol. 10, No. 2
(Winter, 1992), pp. 185-203
-
In Search of the Horwitz Factor.
Widmer et al. AI Magazine 2003.
- Analysis of timing variation
- final ritardando
- Retard and physical motion
- Anatomy of the retard
- Performing Bach's Keyboard Music - Phrasing, George Kochevitsky, 1972
- Music Performance Research at the Millennium.
Gabrielsson. Psychology of Music ; Manchester Vol. 31, Iss. 3, (Jul 2003): 221-272.
- A Model of Expressive Timing in Tonal Music, Neil Todd, Music Perception, 1985. Nuance as a function of musical structure ("time-span reduction")
- The dynamics of dynamics: A model of musical expression. Neil P. McAngus Todd.
The Journal of the Acoustical Society of America 91, 3540 (1992)
- Performance analysis and Chopin's mazurkas.
Nicholas Cook. Musicae Scientiae, 2007
- Methodologies for Expressiveness Modeling of and for Music Performance
Giovanni De Poli. 2004, Journal of New Music Research.
- A state of the art on computational music performance.
Miguel Delgado et al. Expert Systems with Applications, 2010
- Overview of the KTH rule system for musical
performance.
Anders Friberg et al.
Advances in Cognitive Psychology. 2006.
- Playing Mozart by Analogy: Learning Multilevel Timing and Dynamics Strategies
G. Widmer.
Journal of New Music Research 32(3):259-268,
September 2003
- Expressive gesture in Grieg’s recordings of two Op. 43 Lyric Pieces: An exploratory principal components analysis.
Georgia Volioti, Music Performance Research, 2019
- Expressiveness in Music Performance: Empirical approaches across styles and cultures
Dorottya Fabian, (Oxford: OUP 2014), 58-79
- Audio Morphing Different Expressive Intentions for Multimedia Systems
Canazza, De Poli, Drioli, Roda.
July 2000 IEEE Multimedia 7(3):79-83.
- An Interdisciplinary Review of Music Performance Analysis
Pati, Lerch et al.
November 2020 Transactions of the International Society for Music Information Retrieval 3(1):221-245
Taylor & Francis: no
Semantic scholar: sometimes
researchgate: sometimes
booksc.me: yes (arabic)
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